Ce dont on sera dans l’avenir capable is the first solo exhi­bi­tion of the duo of swiss artists Moser & Schwinger in a Parisian insti­tu­tion. Comprised of video pro­jec­tions, doc­u­ments and objects, and inhab­ited by live per­for­mances, the exhi­bi­tion has been devel­oped in the frame­work of their long-term video pro­ject France, détours, ini­ti­ated in 2009. Envisaged as an evo­lu­tive exhi­bi­tion, Ce dont on sera dans l’avenir capable pre­sents episode 1 of France, détours, com­pleted in Toulouse in 2009 and serves as a basis for the cre­ation of a stage of for­mu­la­tion around the simul­ta­neous shooting of episode 2 in Pierrefitte, copro­duced by Kadist Art Foundation and the pro­duc­tion com­pany L’âge d’or. France, détours addresses social and urban­istic issues, as well as the ques­tion of edu­ca­tion, thus bearing par­tic­ular rel­e­vance to Bétonsalon as an art centre located within a uni­ver­sity and in newly devel­oped urban area in Paris.The films of Frédéric Moser and Philippe Schwinger ques­tion the pre­sent through polit­ical and social facts from recent his­tory. To do so, they show­case the sources of con­tem­po­rary reality in order to put them in the place of a con­flicting dis­cus­sion. For them, the con­struc­tion of reality is related to the estab­lish­ment of a space-to-speak.

Coming from diverse social back­grounds, the youth they have worked with in the var­ious episodes does not entirely con­firm the clichés the media and politi­cians try to create. Moser & Schwinger follow Jacques Rancière’s hypoth­esis which states that “the real must be fic­tion­alised in order to be thought”. Each sit­u­a­tion enables the ues­tioning of fic­ti­tious ele­ments asso­ci­ated with a specific reality, and each time, with the help of dif­ferent medi­a­tors, this reality is pproached in a new way. The two artists have cre­ated a field­work inves­ti­ga­tion and col­lab­o­rated with archi­tects, soci­ol­o­gists, jour­nal­ists or his­to­rians in order to inter­sect sev­eral dis­courses and method­olo­gies in their films.The exhi­bi­tion Ce dont on sera dans l’avenir capable will take place simul­ta­ne­ously with the shooting of episode 2 and will act as a vehicle of reflec­tion and exper­i­men­ta­tion to con­struct this episode. To do so, Moser & Schwinger have wished to ven­ture into the chore­o­graphic field with the col­lab­o­ra­tion of five dancers from ‘Essais’, a training pro­gramme led by CNDC (National center for con­tem­po­rary dance) in Angers. The exhi­bi­tion will unfold this per­for­ma­tive work into three inter­twined tem­po­ral­i­ties ques­tioning the poten­tial of the past, pre­sent and future con­tained within the title Ce dont on sera dans l’avenir capable.

The exhi­bi­tion space will be largely cov­ered by a plat­form of for­mu­la­tion – mate­ri­alised by a dance floor – to artic­u­late these three tem­po­ral­i­ties. This plat­form will be used to record a erfor­mance filmed prior to the exhi­bi­tion and in which the five per­formers, inter­preting texts and ges­tures, have pro­posed var­ious pos­sible sce­narii to arrange the objects, people and sit­u­a­tions found at Pierrefitte. The film ensuing from the per­for­mance will be pro­jected in the exhi­bi­tion and accom­pa­nied by the props used by the per­formers (school fur­ni­ture, plac­ards and a black­board). The traces of the past per­for­mance will be in dia­logue with a video doc­u­menting the research and loca­tion scouting car­ried out before the film shoot. The plat­form will fur­ther serve as a site of live nar­ra­tion for two evenings during which four of the five per­formers will give a chore­o­graphic ren­dering of expe­ri­ences in Pierrefitte. Together with var­ious off­site activ­i­ties, these chore­o­graphic meet­ings have been con­ceived by the artists as a metaphor­ical forum for the exhi­bi­tion, and as a pos­sible mode of trans­la­tion of a pro­cess.

We warmly thanks : the artists and par­tic­i­pants of the exhi­bi­tion dancer and per­fomers, the part­ners of the exhi­bi­tion, the Jocelyn Wolff Gallery, Kadist Art Foundation, the pro­duc­tion com­pany L’âge d’or, the asso­ci­a­tion AFPAD, Raïssa KIM , and everyone who con­tributed to the real­i­sa­tion of this pro­ject.

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